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Brabme  jfcetival 

Si^mpbon^  Society 

of 

flew  l^orft 

Walter  Damrosch,  Conductor 

AND    THE 

©ratotio  Societij 

of 

new  ^ovh 

Frank  Damrosch,  Conductor 


:SSoo\\  of  tbe  jfestival 


flDarcb  25,  27,  29  anb  30tb,  1912 
CarncGie  flDueic  Iball 


6 


3  ^  Music 


IPro^rainme  of  the  ifeetival 


MONDAY    EVENING,    MARCH    25,    1912 

ACADEMIC   FESTIVAL   OVERTURE Orchestra 

NENIA Chorus   and   Orchestra 

FIRST    SYMPHONY Orchestra 

TRIUMPHAL  HYMN Chorus,   Orchestra  and 

Hamilton   Earle,    Baritone 

WEDNESDAY  AFTERNOON,   MARCH  27,   1912 

THIRD    SYMPHONY Orchestra 

SONGS    Mme.   Matzenauer 

CONCERTO  FOR  PIANO Mr.  Wilhehn  Bachaus  and  Orchestra 

FRIDAY  AFTERNOON,  MARCH  29,  1912 

SERENADE   IN    D Orchestra 

VIOLIN  CONCERTO Mr.  Efrem  Zimbalist  and  Orchestra 

FOURTH    SYMPHONY Orchestra 

SATURDAY  EVENING,  MARCH  30,  1912 

SECOND   SYMPHONY Orchestra 

A  GERMAN  REQUIEM Chorus,  Orchestra  and 

Miss  Florence  Hinkle,  Soprano 
Mr.   Hamilton   Earle,  Baritone 


3obannc0  Brabnis 

Born  in  Hamburg,   May   yth,    1833  ;  died  in  Vienna,   April   3rd,    1897 


"And  he  has  come,  this  chosen  youth  from  whose  cradle  the  Graces  and 
Heroes  seem  to  have  kept  watch.  His  name  is  Johannes  Brahms;  he  comes 
from  Hamburg,  where  he  has  been  working  in  quiet  obscurity,  instructed 
by  a  kindly  and  enthusiastic  teacher  in  the  most  difficult  principles  of  his 
art,  and  lately  introduced  to  me  by  an  honored  and  well-known  master.  His 
mere  outward  appearance  assures  us  that  he  is  one  of  the  elect.  Seated  at 
the  piano,  he  disclosed  wondrous  regions.  We  were  drawn  into  an  enchanted 
circle.  Then  came  a  moment  of  inspiration,  which  transformed  the  piano 
into  an  orchestra  of  wailing  and  jubilant  voices.  There  were  sonatas,  or 
rather  veiled  symphonies,  songs  whose  poetry  revealed  itself  without  the  aid 
of  words,  while  throughout  them  all  ran  a  vein  of  deep  song  melody ;  several 
pieces  of  a  half-demoniacal  character,  but  of  charming  form,  then  sonatas 
for  piano  and  violin,  string-quartets,  and  each  one  of  these  creations  shows 
then  from  the  last  that  they  appear  to  flow  from  so  many  separate  sources. 
Then,  like  an  impetuous  torrent,  he  seemed  to  unite  these  streams  into  a 
foaming  waterfall ;  over  the  tossing  waves  the  rainbow  presently  stretches 
its  peaceful  arch,  while  on  the  banks  butterflies  flit  to  and  fro,  and  the  night- 
ingale warbles  her  song."     {Robert  Schumann,  in  October,  1853.) 


Brahms  illustrates  the  rule — like  Bach,  Mozart,  Beethoven  and 
Richard  Strauss  —  that  great  musical  genius  is  an  inheritance.  He  was 
born  to  music.  His  father  was  a  double-bass  player,  but  proficient  also 
on  other  instruments.  He  began  his  musical  studies  early,  the  teacher  so 
highly  commended  being  Edward  Marxsen,  who,  as  wise  as  his  parents, 
refused  to  exploit  him  as  a  prodigy.  Nevertheless,  at  the  age  of  four- 
teen, he  gave  a  concert  of  pianoforte  music,  at  which  he  produced  a  set 
of  variations  on  a  folk  song  of  his  own  composition.  The  fact  that  he 
began  his  creative  career  with  such  a  composition  is  significant;  it  allies 
him  with  Beethoven,  who  began  his  career  with  variations  at  ten  years 
of  age,  and  at  fifty-three  put  the  capstone  on  his  creations  in  this  form 
with  the  famous  variations  on  a  waltz  theme  by  Diabelli.  Like  Bee- 
thoven, Brahms  asserted  his  love  for  the  form  in  all  departments  to 
which  he  contributed,  and  made  it  a  vehicle  for  beautiful  and  soulful 
poetizing.  While  on  a  concert  tour  with  Remenyi,  in  1853.  he  made  the 
acquaintance  of  Joachim  and  established  a  friendship  which  endured 
throughout  his  life.  It  was  Joachim  who  gave  him  the  letter  of  intro- 
duction to  Schumann,  and  provided  the  opportunity  for  the  prophetic 
rhapsody  entitled  "New  Paths,"  which  Schumann  wrote  for  the  Ncue 


Zeitschrift  fur  Musik,  printed  above,   and  which   launched  the  young 
composer  upon  his  career. 

One  might  have  expected  from  a  young  composer,  for  whom  the 
path  to  interest,  if  not  popularity,  had  been  made  so  broad  and,  as  one 
would  think,  easy,  that  he  would  have  kept  his  publishers  busy  as  soon 
as  his  first  work  had  been  issued.  But  this  was  not  the  case.  Compared 
with  some  of  the  great  men  among  his  predecessors,  Brahms  was  not  a 
voluminous  composer.  I  quote  from  my  preface  to  a  collection  of  his 
songs  published  by  G.  Schirmer:  "When  Simrock  published  a  thematic 
catalogue  of  his  compositions,  in  1888,  the  list  of  numbered  works  ran  up 
to  loi.  That  figure  represented  thirty-five  years  of  labor.  .  .  .  He 
was  twenty  years  old  when  he  began  to  publish.  Within  the  next  eight 
years  (surely  this  period  is  the  heyday  of  an  ambitious  artist's  life!) 
he  gave  the  world  but  fifteen  works  (counting  by  opus  numbers),  the 
majority  of  them  pianoforte  solos  and  songs.  The  fact  is  not  evidence 
of  indolence,  but  proof  that  from  the  beginning  he  possessed  that 
power  of  self-criticism  and  self-control,  as  well  as  that  reverential 
attitude  towards  his  art,  which  marked  his  later  career.  The  last  ten 
years  of  his  life  added  only  twenty  numbers  to  his  published  list." 
.  .  .  Carelessness  was  wholly  foreign  to  his  nature.  From  the 
beginning  to  the  end  of  his  career  he  exemplified  the  familiar  Horatian 
maxim,  and  kept  many  of  his  work  away  from  the  public,  not  only  nine 
years,  but  forever.  ("He  would  take  no  chances  in  art.")  Since  his 
death,  his  admirers  have  had  no  occasion  to  grieve  over  the  ill-advised 
action  of  his  publishers  in  printing  works  found  in  manuscript  among 
his  papers ;  he  had  taken  care  that  there  should  not  be  any. 

It  would  be  strange,  indeed,  if  Brahms  had  never  felt  the  ambition  to 
compose  an  opera  —  an  ambition  which  tuggied  strenuously  at  the 
heart-strings  of  Mendelssohn  and  caused  Beethoven  unexampled  misery; 
but  he  resolutely  held  the  desire  in  check.  Most  plainly  he  doubted  his 
ability  as  a  musical  dramatist  and  steeled  himself  against  temptation  in 
that  direction.  "If  an  opera  of  mine  had  failed,"  he  once  remarked, 
"I  should  surely  write  another.  I  can't  make  up  my  mind  to  write  the 
first.  I  feel  about  opera-writing  as  I  do  about  matrimony."  The  time 
which  might  have  been  consumed  by  operatic  experiments,  Brahms  gave 
to  works  in  forms  which  called  up  no  doubts  to  affright  him.  His 
creative  career  compassed  about  forty-three  years.  His  Op.  i  appeared 
in  1853 ;  his  Op.  121  in  1896.  As  a  rule,  only  the  works  of  first  magnitude 
and  large  importance  were  permitted  to  monopolize  an  opus  number  in 
his  list.  Songs,  smaller  pianoforte  pieces  and  part-songs  were  generally 
grouped,  sometimes  as  many  as  six  or  a  dozen  appearing  under  a  single 
title.  He  composed  over  two  hundred  songs,  about  fifty  pieces  of  various 
dimensions  for  pianoforte  solo,  twenty-two  pieces  of  chamber  music, 
two  serenades,  two  overtures,  four  symphonies  and  one  set  of  variations 
for  orchestra,  two  pianoforte  concertos,  one  concerto  for  violin  and  one 
for  violin  and  violoncello,  seventy-one  choral  works   (big  and  little  — 


concerted  songs,  duets,  trios,  etc.),  forty-seven  and  two  sets  of  waltzes 
for  pianoforte  four  hands  and  vocal  quartet.  Among  his  numbered 
compositions  are  fourteen  German  folk  songs,  four  books  of  Hungarian 
dances  (arrangements),  fifty-six  studies  or  exercises  for  the  pianoforte, 
and  a  couple  of  organ  pieces. 

When  Brahms's  first  symphony,  that  in  C  minor,  was  causing  con- 
siderable commotion  in  the  musical  world.  Dr.  von  Biilow  helped  on  the 
excitement  by  dubbing  it  the  "Tenth."  The  implication  seemed  to  be 
that,  in  Dr.  von  Biilow's  eyes,  it  was  the  first  symphony  composed  since 
Beethoven  which  was  entitled  to  be  considered  a  successor  of  the 
immortal  nine.  The  world  has  not  accepted  von  Biilow's  hyperbole  with 
entire  seriousness,  but  it  has,  nevertheless,  learned  to  appreciate  the 
greatness  of  Brahms's  symphonies,  each  one  of  which  in  its  turn  was 
received  with  a  flutter  of  excited  interest.  One  thing  which  contributed 
to  this  was  the  circumstance  that  he  was  so  slow  in  producing  works  of 
this  kind  after  he  had  won  the  reputation  of  being  the  foremost  of  Ger- 
many's composers  in  the  domain  of  absolute  music.  His  Op.  I  (the 
sonata  which  he  played  for  Schumann)  is  separated  by  nearly  a  quarter 
of  a  century  from  his  first  symphony;  and  within  that  period  he  had 
created  his  finest  and  most  enduring  works  in  the  department  of  chamber 
music,  besides  his  masterpiece,  "A  German  Requiem."  When  once  he 
had  set  out  as  a  symphonist,  however,  he  worked  with  tremendous 
energy.  Like  Beethoven  again,  he  brought  the  symphonies  out  in  pairs: 
the  first  appeared  in  1876,  the  second  in  1877,  the  third  in  1884,  the  fourth 
in  1886. 

It  is  not  within  the  province  of  this  introductory  paper  to  discuss 
the  works  to  be  performed  at  this  Brahms  Festival  in  detail;  that  will 
be  done  in  part  elsewhere  in  this  book.  Something  ought  to  be  said, 
however,  about  Brahms,  the  man.  It  was  entirely  natural  that  he  should 
have  been  the  subject  of  violent  attacks  throughout  his  life.  He  was  a 
strong,  assertive,  self-reliant  man,  who  neither  asked  consideration  for 
himself,  nor  felt  bound  to  give  it  to  others.  He  neither  indulged  in 
affectations,  nor  endured  them  with  patience.  There  is  probably  only  a 
mild  infusion  of  exaggeration  in  the  story,  that  once  when  leaving  a 
drawing-room  in  Vienna,  he  turned  at  the  doorway  to  beg  the  pardon 
of  any  one  whom  he  had  unintentionally  neglected  to  offend.  He  was 
intolerant  of  pretence,  and  in  everything  the  opposite  of  a  snob.  A  well- 
known  composer  once  read  at  the  pianoforte  with  him  a  work  that  has 
since  received  wide  acceptance.  Brahms's  criticism  was :  "What  beau- 
tiful music-paper  you  use;  pray,  where  do  you  get  it?"  Another 
composer  wrote  a  setting  of  Schiller's,  "Lay  of  the  Bell,"  and  asked 
Brahms  for  his  opinion  of  it.  He  received  it  in  these  words :  "I  have 
always  thought  that  Schiller's  'Glocke'  was  one  of  the  greatest  poems 
ever  written,  and  I  shall  continue  to  hold  that  opinion."  To  a  violon- 
cellist, who  had  asked  him  to  play  an  accompaniment  and  complained 
that  the  pianoforte  was  so  loud  he  could  not  hear  his  own  instrument, 


Brahms  replied:  "Lucky  man!"  But  if  he  would  not  flatter,  neither 
would  he  listen  to  flattery.  On  an  occasion  a  host  produced  a  bottle  of 
wine,  which,  he  said,  he  called  "Brahms  wine,"  because  it  surpassed  all 
other  wines,  as  Brahms's  music  surpassed  that  of  all  other  composers. 
"Take  it  away,"  cried  Brahms,  "and  bring  us  a  bottle  of  Bach !" 

The  grave  of  Brahms  is  beside  that  of  Beethoven  and  near  that  of 
Schubert.  His  funeral  was  one  of  the  most  imposing  functions  of  its 
kind  that  Vienna  ever  saw;  yet  all  the  arrangements  were  of  the  simple 
kind,  which  he  would  have  desired  had  he  been  consulted.  The  floral 
gifts  from  municipalities,  institutions  and  personal  friends  filled  six 
wagons.  Among  the  men  eminent  in  music  who,  as  personal  friends, 
escorted  the  body  through  the  cemetery  to  the  grave,  carrying  torches, 
were  Antonin  Dvorak,  Ignaz  Briill,  Robert  Fuchs,  Max  Kalbeck,  Richard 
Heuberger,  Dr.  Mandyczewsky  and  George  Henschel. 

The  fame  of  Brahms  is  safe  in  the  hands  of  posterity.  He  was  never 
so  well  understood,  so  much  admired  before  his  death  as  he  is  now.  In 
his  case,  there  will  be  no  need  of  a  distinctive  cult  and  propagandism 
through  the  agency  of  societies.  There  would  never  have  been  talk  of 
such  a  thing  had  there  not  been  a  Wagner  cult,  whose  short-sighted 
devotees  thought  that  there  was  but  one  God  in  music,  and  that  they 
were  his  prophets. 

H.  E.  KREHBIEL. 


^\^:;;srtcs*fe;^«gp^.. 


jfirst  Concert 


Monday  Evening,   March  25,   1912 

part  11 

(i)   Academic  Festival  Overture.     Opus  80  (Composed  188 1) 

©rcbcstra  of  tbe  Ssmpboug  Society  of  IRew  lJ)ork 

WALTER    DAMROSCH,   Conductor 

(2)   Nenia.   (Friedrich  Schiller).      Opus  82  (Composedi88i) 

For  chorus  of  Mixed  Voices  with  Orchestra  (and  Harp 
ad  libitum') 

©ratorlo  Society  of  IRcw  Dorl^ 

anD 

©rcbestra  of  tbe  Sgmpbons  Society  of  IRcvv  l^ork 

FRANK  DAMROSCH,   Conductor 


IRenia 

Nenia,  i.e.,  a  lament,  is  the  title  of  Schiller's  poem,  which  may  be 
imagined  as  sung  by  Roman  maidens  and  youths  at  the  funeral  pyre  of  a 
young  hero.  It  is  written  in  hexameters.  Its  broad,  majestic  meter, 
its  noble  sentiment  and  the  contrasts  of  poetic  ideas  which  it  contains 
appealed  strongly  to  Brahms's  nature  and  inspired  him  to  compose  one 
of  his  most  beautiful  choral  works. 

The  composition  opens  with  a  short  orchestral  prelude  in  tender 
melodic  phrases.  Then  enters  the  Soprano  with  the  first  theme  ex- 
pressive of  the  wailing  cadences  of  grief  which  are  taken  up  by  Alto, 
Tenor  and  Bass  in  turn  till  all  unite  in  impassioned  exclamation  on  the 
inevitableness  of  death.  This  first  distich  is  answered  by  a  second 
treated  in  similar  form,  the  Basses  enunciating  the  first  theme  in  some- 
what varied  form  while  the  other  voices  enter  in  turn  and  again  work 
up  to  a  strong  rhythmic  cadence. 

The  following  two  groups  of  distichons  bring  a  new  theme  to  the 
words  "No  balm  Aphrodite  could  bring"  contrasted  by  the  same  musical 
thought  with  stronger  dynamic  emphasis  on  "Nor  the  mother  immortal." 


With  the  end  of  this  group  has  been  reached  the  height  of  the  decla- 
matory preface  to  the  lyric  climax,  which  is  intoned  on  the  words  "But 
she  doth  rise  from  the  sea."  This  bursts  on  the  ear  in  a  new  meter 
(4/4)  and  a  new  key  (F  sharp  major)  majestic  in  its  sweep  from  the 
depths  of  the  low  C  sharp  to  the  high  F  sharp,  and  suggestive  of  Thetis, 
the  goddess,  appearing  on  the  waves  of  the  sea  to  mourn  Achilles,  her 
son.  And  the  goddesses,  the  daughter  of  Nereus,  all  weep  with  her,  and 
the  way  in  which  Brahms  has  depicted  this  scene  in  three  measures  in 
which  he  has  concentrated  the  utmost  poignancy  of  grief  while  main- 
taining the  greatest  beauty  and  sincerity  of  expression,  seeks  its  equal 
in  all  the  range  of  choral  music. 

The  closing  distich  returns  to  the  theme  of  the  first  in  the  original 
D  major  and  6/4  measure, 

A  curious  feature  of  this  work  is  the  impression  it  leaves  on  the 
hearer.  Far  from  being  the  mournful,  depressing  dirge  which  the  name 
would  suggest,  it  enraptures  the  ear  by  the  beauty  of  its  melodic  and 
harmonic  structure,  interests  the  mind  by  its  strong  rhythmic  declama- 
tion, and  uplifts  the  spirit  by  its  nobility  of  thought  and  utterance.  The 
major  key  predominates  throughout  the  work  and  there  is  never  any 
mawkish  sentimentality,  but  on  the  contrary,  a  rugged  sincerity  of  ex- 
pression. 

It  is  as  though  the  song  were  not  so  much  a  lament  that  "Beauty 
must  fade,  that  the  Perfect  must  die,"  but  rather  a  paean  of  praise  in 
recognition  of  the  fact  that  they  had  lived.  "To  be  even  a  Song  of 
lament  on  the  lips  of  the  loved  one  is  glory."  (F.  D.) 


IRcnia 

Even  Beauty  must  perish :  though  mortals  and  gods  it  have  vanquished. 

Not  the  fast-steeled  heart  it  moves  of  the  Stygian  Zeus. 

Only  once,  at  the  pleading  of  Eros,  the  Ruler  of  Hades  relented; 

Ruthless,  e'en  then,  he  recalled  from  the  threshold  of  freedom  his  boon. 

No  balm  Aphrodite  could  bring  to  the  fair  boy,  sore  wounded. 

There  where  his  tender  flesh,  fierce  and  cruel,  the  wild  boar  had  torn ; 

Nor  the  mother  immortal  give  life  to  her  god-like  hero 

When  at  the  gates  of  Troy  falling,  his  fate  he  fulfilled. 

But  she  doth  rise  from  the  sea,  with  all  the  daughters  of  Nereus, 

And  lifting  her  voice  in  lament,  mourns  for  her  glorified  son. 

See  how  they   weep,   the  Immortals,   see   the   goddesses   all,   they   are 

weeping 
For  that  Beauty  must  fade,  that  the  Perfect  must  die ! 
To  be  even  a  song  of  lament  on  the  lips  of  the  loved  one,  is  glory; 
For  know,  'tis  the  common  lot  to  go  down  to  Orkus  unsung! 

English  version  by  Alma  Strettell,  here  published  with  consent  of 
G.  Schirmer  (copyright,  1911). 

8 


part  mi 

(3)   Symphony  No.  i  (C  minor).   Opus  68  (Composed  1877) 

1 .  Uti  pocQ  sustenuto-allegro 

2.  Andante  sustenuto 

3 .  JJn  poco  Allegretto  e  grazioso 

4.  Adagio,  Piu  Andante- Allegro  nan  troppo  ma  con  brio- Allegro 

®rcf3e6tra  of  tbe  Sgnipbong  Society  of  IRew  H'orh 
WALTER  DAMROSCH,   Conductor 


SYMPHONY,  No.  1,  in  C  minor,  Op.  68. 

I,  Un  poco  sostenuto — Allegro;  C  minor,  6-8  time;  II,  Andante 
sostenuto,  E  major,  3-4;  III,  Un  poco  Allegretto  e  grazioso,  A-flat 
major,  2-4;  L'istesso  tempo,  B  major,  6-8;  IV,  Adagio,  C  minor,  4-4; 
Allegro  non  troppo,  ma  con  brio,  C  major,  4-4. 

Composed,  or  at  least  finished,  no  doubt,  in  1876,  this  symphony  was 
published  in  1877.  Allusion  to  the  sensation  which  it  created  and  its 
reception  has  been  made  in  the  prefatory  remarks.  It  had  its  first 
performance  from  manuscript  in  Carlsruhe  on  November  4,  1876,  the 
composer  conducting.  Its  first  American  performance  by  the  Symphony 
Society  took  place  under  somewhat  amusing  circumstances,  as  appears 
from  a  note  which  appeared  in  the  New  York  "Tribune"  newspaper,  some 
seven  years  ago:  "When  word  first  reached  America,  in  1877,  that 
Brahms  had  published  his  first  symphony,  the  musical  world  here 
awaited  its  first  production  with  keenest  interest.  Both  Theodore 
Thomas  and  Dr.  Leopold  Damrosch  were  anxious  to  be  the  first  to 
produce  the  monumental  work,  but  Dr.  Damrosch  found,  to  his  dismay, 
that  Thomas  had  induced  the  local  music  dealer  to  promise  the  orchestral 
parts  to  him  exclusively.  Dr.  Damrosch  found  he  could  obtain  neither 
score  nor  parts,  when  a  very  musical  lady,  a  pupil  of  Dr.  Damrosch, 
hearing  of  his  predicament,  surprised  him  with  a  full  copy  of  the 
orchestral  score.  She  had  calmly  gone  to  the  music  dealer,  without 
mentioning  her  purpose,  and  bought  a  copy  in  the  usual  way.  The  score 
was  immediately  torn  into  four  parts  and  divided  among  as  many  copyists, 
who,  working  night  and  day  on  the  orchestra  parts,  enabled  Dr.  Dam- 
rosch to  perform  the  symphony  a  week  ahead  of  his  rival." 

In  further  explanation  of  Dr.  von  Biilow's  designation  of  the  sym- 
phony as  the  "Tenth,"  his  own  words  ought  to  be  quoted:  "I  call 
Brahms's  first  symphony  the  Tenth,"  he  wrote,  "not  as  though  it  should 
be  put  after  the  Ninth;  I  should  put  it  between  the  Second  and  the 
"Eroica,"  just  as  I  think  that  by  the  First  symphony  should  be  under- 
stood, not  the  first  of  Beethoven,  but  the  one  composed  by  Mozart, 
which  is  known  as  the  'Jupiter.'  " 


Reference  was  also  made  in  the  preface,  to  the  fact  that,  like 
Beethoven,  Brahms  brought  forth  his  symphonies  in  pairs.  It  may  be 
added  that  in  one  case  the  men  worked  on  the  same  line  of  contrast. 
Brahms's  symphony  in  C  minor  is  severe,  forceful,  deeply  tinged  with 
melancholy,  indeed,  almost  sombre  in  spirit;  the  D  major  (No.  2), 
gracious,  fascinating,  idyllic,  merry,  with  scarcely  a  trace  of  melancholy. 
The  same  contrast  may  be  found  in  the  C  minor  and  "Pastoral"  sym- 
phonies of  Beethoven,  and  the  parallel  is  heightened  by  the  circumstance 
that  the  emotional  or  poetic  contents  of  the  two  works  in  C  minor  are 
much  the  same,  though  we  are  compelled  to  recognize  the  sturdier,  more 
militant,  less  contemplative  mood  in  the  elder  of  the  brothers  whose 
names  begin  with  B.  However,  no  harm  will  be  done  if  this  be  accepted 
as  the  programme  of  both  works :  a  fierce  struggle  and  a  glorious 
victory.  Not  a  struggle  in  which  the  enemy  is  mortal,  but  one  in  which 
human  nature  grapples  with  overshadowing  fate,  and,  after  a  fierce 
struggle,  rises  victorious  over  the  inimical  powers  and  ascends  from 
darkness  to  light.  This  was  Beethoven's  view  of  life,  the  fundamental 
tragic  idea  of  many  of  his  compositions  and  most  grandly  published  in 
his  third,  fifth  and  ninth  symphonies.  Like  Beethoven  in  these  works, 
Brahms  celebrates  the  triumph  in  which  his  symphony  ends  by  a  melody 
of  Beethovenian  simplicity,  one  that  is  not  at  all  like  the  joy  melody  of 
the  Ninth,  yet  has  never  failed  to  suggest  it. 

(H.  E.  K.) 


(4)   Triumphal  Hymn.      Opus  ^^  (Composed  1872) 

For  Eight-Part  Chorus  of  Mixed  Voices,  Baritone  Solo  and 
Orchestra  (Organ  aii  libitum') 

New — First  time  in  New  York 

©ratorto  Society  of  IRevv  l?orft 
©rcbestra  ot  tbc  Ssmpbon^  Society  ot  IWcw  ll?ork 

AND 

MR.   HAMILTON   EARLE,   Baritone 

FRANK    DAMROSCH,   Conductor 
(Mr.    Frank   L.    Sealy  at  the  Organ) 


ITiinnipbal  1!3t?inn 

Brahms  was  inspired  to  write  the  Triumphal  Hymn  (Triumpflied) 
by  the  victory  of  the  German  arms  in  1871.  Although  he  lived  in 
Vienna  during  the  greater  part  of  his  life,  he  remained  a  German  in 
thought  and  feeling  and  his  enthusiasm  over  the  outcome  of  the  war 
and  the  unification  of  the  German  states  into  a  mighty  empire  sought 
and  found  expression  in  this  outburst  of  jubilant  song.  He  chose  for 
his  text  portions  of  the  nineteenth  chapter  of  Revelations : 


"And  after  these  things  I  heard  a  great  voice  of  much  people  in 
"heaven,  saying,  Alleluia,  Salvation,  and  glory  and  honour,  and  pov^er, 
"unto  the  Lord  our  God. 

"For  true  and  righteous  are  His  judgments. 

"Praise  our  God,  all  ye  His  servants,  and  ye  that  fear  Him,  both 
"small  and  great. 

"Let  us  be  glad  and  rejoice,  and  give  honour  to  Him. 

"And  I  saw  the  heaven  opened,  and  behold  a  white  horse ;  and  he  that 
"sat  upon  him  was  called  Faithful  and  True,  and  in  righteousness  he 
"doth  judge  and  make  war.  And  he  treadeth  the  winepress  of  the  fierce- 
"ness  and  the  wrath  of  Almighty  God. 

"And  he  hath  on  his  vesture  and  on  his  thigh  a  name  written.  King 
"of  Kings,  and  Lord  of  Lords." 

Mighty  words,  these,  and  well  calculated  to  inspire  a  mighty  genius. 

The  work  is  divided  into  three  parts.  The  first  opens  with  a  short 
orchestral  prelude  in  which  the  theme  later  intoned  by  the  chorus  on 
the  words:  "Praise  the  Lord,  etc.,"  is  utilized,  interrupted  by  fanfares 
of  trumpets.  This  theme  suggests  the  hymn,  which,  originally  composed 
for  England  as  "God  Save  the  King,"  by  Dr.  John  Bull,  has  been 
adopted  both  by  Germany  and  the  United  States.  In  Germany  it  is  sung 
to  the  words  "Heil  dir  im  Siegerkranz"  (Hail  to  thee,  crowned  as  vic- 
tor) and  thus  must  have  suggested  itself  to  the  composer  as  a  peculiarly 
apt  opening  to  a  work  dedicated  to  the  victorious  German  Emperor. 

As  the  accompanying  illustration  shows,  the  theme  is  not  a  quotation 
but  a  suggestion,  as  the  rhythm  is  changed  and  the  melody  somewhat 
altered. 


The  chorus — a  double  choir  of  four  voice-parts  in  each — then  bursts 
into  the  first  Hallelujah !  While  there  may  appear  to  be  some  resem- 
blance to  the  Handelian  style  in  this  first  number,  there  is  no  imitation, 
but  a  truly  individual  treatment  of  the  antiphonal  choral  passages.  The 
counterpoint  is  often  intricate  but  never  cloudy,  and  the  climaxes  are 
strong  and  stirring. 

The  second  number  contains  several  points  of  special  interest.  The 
opening  movement  in  }i  time  on  the  words  "Glory  be  to  God,  etc.,"  is  in- 
terrupted by  fanfares  of  trumpets  in  common  time  introducing  renewed 
Hallelujahs,  and  these  lead  into  a  marchlike  fugato  on  the  words  "For 
the  omnipotent  God  hath  exalted  His  Kingdom."  It  is  as  though  one 
heard  the  tramp  of  mighty  armies  marching  onward  and  upward  to  the 
Kingdom  established  by  God.  In  this  instance  it  suggests  the  marchin;^ 
of  the  German  nation  toward  the  goal  of  the  new  German  empire,  which 

II 


has  just  been  consummated  by  the  grace  of  God,  and  it  is  followed  by 
a  song  of  rejoicing  and  gratitude.  '"O  be  joyful,  let  all  be  glad.  To 
Him  alone  give  honour."  While  the  voices  sing  this,  the  orchestra  in- 
tones that  old  German  Chorale  "Nun  danket  alle  Gott"  (Now  thank 
ye  all  our  God),  the  hymn  which  is  sung  in  Germany  on  all  occasions 
of  Thanksgiving. 

The  third  number  is  perhaps  the  most  varied  and  interesting  of  the 
three  in  spite  of  the  fact  that  the  preceding  contained  so  much  strength, 
vivacity  and  exaltation,  that  a  further  climax  seems  scarcely  possible. 

It  opens  with  a  Solo  Baritone  declamation  describing  the  vision  of 
the  snow  white  horse,  the  words  repeated  by  the  chorus,  first  in  awe- 
stricken  whisper  which  ^adually  swells  to  the  exultant  proclamation: 
"called  steadfast  and  faithful."  This  is  followed  by  an  impressive  fugato 
"And  he  treads  the  winepress  of  wrath,"  and  then  the  solo  voice  intro- 
duces the  final  movement  beginning  with  the  words :  "A  King  of  Kings 
and  Lord  of  Lords."  In  this  the  chorus  fairly  riots  in  contrapuntal 
passages.  Hallelujahs  are  tossed  from  chorus  to  chorus,  exultant  shouts 
resound  above  the  tumult  of  voices  and  instruments  and  finally  culminate 
in  a  glorious  Amen. 

The  Triumphal  Hymn  will  be  performed  for  the  first  time  in  New 
York  in  this  Festival.  (F.  D.) 


criumpbal  Ibv^mn 

No.  L— CHORUS. 
Hallelujah!     Praise  the  Lord,  honour  and  power  and  glory  to  God. 
For  in  righteousness  and  truth  the  Lord  giveth  judgment.     Oh  praise 
ve  the  Lord,  oh  praise  God  our  Lord. 

Hallelujah! 
No.  IL— CHORUS. 
Glory  be  to  God  our  Lord;  praise  the  Lord,  all  ye  His  servants,  praise 
and  glorify  our  God,  and  ye  that  fear  Him,  all,  both  humble  and  mighty, 
glorifv  the  Lord. 

Hallelujah ! 
For  the  omnipotent  God  hath  exalted  His  Kingdom.     Oh  be  joyful,  let 
all  be  glad ;  to  Him  alone  give  honour. 

No.  HL— BARITONE  SOLO  WITH  CHORUS. 
And  I  saw  how  the  heavens  were  opened  wide,  and  yonder  a  snov/- 
white  horse,  upon  it  sat  One,  called  steadfast  and  faithful,  who  warreth, 
and  judgeth  all  with  righteousness.  And  he  treads  the  winepress  of 
wrath  of  the  Lord  God  Almighty.  And  lo,  a  great  Name  hath  he  writ- 
ten upon  his  vesture,  and  upon  his  girdle,  called:  A  King  of  Kings  and 
Lord  of  Lords.  Yea,  a  Lord  great  above  all  Lords;  He  shall  reign  for- 
ever, a  King  of  Kings.  Hallelujah!  Amen.  His  Kingdom  shall  en- 
dure for  evermore;  the  Lord  is  God.     Hallelujah!     Amen. 


Seconb  Concert 


Wednesday  Afternoon,   March   27,   19 12 

part  H 

(i)   Symphony  No.  3  (F  major).    Opus  90  (Composed  1884) 

1 .  Allegro   CON  brio 

2.  All  dan  te 

3.  Poco  Allegretto 

4.  Allegro 

Orchestra  of  Ssmpbong  Society  ot  "fflcw  i?orft 
WALTER  DAMROSCH,  Condlctor 


SYMPHONY,  No.  S,  F  major,  Op.  90. 

I,  Allegro  con  brio,  F  major,  6-4  time;  II,  Andante,  C  major,  4-4; 
III,  Poco  Allegretto,  C  minor,  3-8;  IV,  Allegro,  F  minor,  2-2. 

This  symphony  had  its  first  performance  in  Vienna,  under  the 
direction  of  Hans  Richter,  on  December  2,  1883,  and  was  pubHshed  a  few 
months  later.  New  York  heard  it  first  at  one  of  ]\Ir.  Van  der  Stucken's 
Novelty  Concerts,  on  October  26,  1884.  Its  two  Allegro  movements  made 
a  deep  nnpression  at  the  time  by  their  exalted  and  heroic  spirit.  The 
marvelous  energy  of  the  principal  subject  of  the  first  movement,  and 
the  originality  of  the  constructive  device  underlying  it,  mark  it  as  one 
of  the  most  characteristic  symphonic  pieces  since  Schubert.  In  the 
tones  F,  A-flat  and  F,  which  form  the  upper  voice  of  the  three  chords 
that  usher  in  the  principal  subject,  there  lies  a  sort  of  motto  which,  now 
in  the  bass,  and  anon  in  one  of  the  middle  voices,  appears  throughout 
the  movement  as  a  counter-theme.  This  motto  is  in  the  minor  mode, 
while  the  principal  theme  which  it  accompanies,  is  in  the  major.  The 
result  is  an  effect  of  conflict,  concerning  which  Mr.  Apthorp  says,  with 
ingenious  speculation :  "It  seems  to  me  that  it  can  only  be  explained  on 
the  supposition  of  some  underlying  dramatic  principle  in  the  movement, 
such  as  the  bringing  together  of  two  opposing  forces  —  Light  and  Dark- 
ness, Good  and  Evil,  or  perhaps  only  IMajor  and  Minor —  for  on  purely 

13 


musical  grounds  the  thing  has  little  sense  or  meaning.     The  first  theme 
starts  in  passionately  and  joyously  in  the  exuberance  of  musical  life;  the 
counter-theme  comes  in  darkly  and  forbiddingly,  like  logo's 
.     .     .     O,  you  are  well  tun'd  now ! 

But  I'll  set  down  the  pegs  that  make  this  music. 

As  honest  as  I  am, 
the  idea  being  still  further  carried  out  by  the  second  phrase  of  the  theme, 
suddenly  shifting  to  the  chord  of  D-flat  major,  where  the  A-flat  of  the 
counter-theme  is  quite  at  home."  Another  singular  feature  of  the 
movement  is  a  phrase  introducing  the  second  subject,  which  sounds 
like  a  faint  echo  of  the  call  of  the  sirens  in  Wagner's  "Tannhauser" : 
"Naht  euch  dem  Strande !"  The  second  movement  is  idyllic  and  pastoral 
in  character,  and  with  the  third  movement  (a  kind  of  intermezzo  in 
place  of  the  conventional  Scherzo)  suggests  the  simile  used  by  Liszt  in 
describing  the  Allegretto  of  Beethoven's  pianoforte  sonata  in  C-sharp 
minor :  a  flower  between  two  abysses. 

(H.  E.  K.) 


part  1111 


(2)   Songs 


MME.  MATZENAUER 


(a)      Sapphic   Ode 

(;^)      Immer  le'uer  zvirJ  mein  Schtummer 

(r)       Cradle  Sotig  of  the  Virgin 

With  Viola  obligate,   based  on  the  mediaeval  air,  "Joseph  lieber,  Joseph 
mein  "   (new  ;  first  time  in  New  York). 

{d^      Von  ewiger  Liebe 


Bucilisb  Ximor^s  of  Songs 

(a)     Sapphic  Ode 

Roses  pulled  by  night  from  the  dark'ning  hedge  rows 
Breath'd  upon  me   sweeter  than  e'er  by  daytime ; 
Though  the  show'ring  dew,  from  the  branches  shaken, 
Rain'd  on  my  forehead. 

Kisses  softly  culled  from  thy  lips'  red  garland 
Breath'd  a  deeper  spell  through  the  night's  enchantment; 
Though  thine  eyes,  o'erwhelmed  by  the  rising  passion. 
Wept  like  the  roses. 

(P.  E.) 

14 


(6)     Immcr  leiser  wird  mein  Schlmnmer 

{Slumber  lightly  now  is  hieing) 

Slumber  lightly  now  is  hieing; 
Like  a  veil  my  woes  are  lying, 
Quiv'ring  over  me,  over  me; 
Oft,  while  dreaming,  thee  I  hear. 
Calling  you  without  my  door; 
None  is  there  to  ope  for  thee, 
I  awake,  and  weep,  ah !  bitterly,  weep, 
Ah!  bitterly. 

Ah,  I  feel  that  I  must  perish. 
Then  another  heart  thou'lt  cherish, 
When  I'm  cold  and  wan,  cold  and  wan. 

Ere  the  Maytime  winds  rejoice. 
Ere  the  thrush  shall  raise  her  voice. 
Wilt  thou  grant  mine  eyes  a  boon. 
Come,  O  come  full  soon. 
Come,  O  come  full  soon. 


(H.  L.) 


(c)     Cradle  Song  of  the  Virgin 

Joseph  dearest,  Joseph  mine,  help  me  rock  him,  baby  mine, 

God's  reward  will  too  be  thine,  In  Heav'n  above,  the  Virgin's  son, 

Maria,  Maria. 

Ye  who  o'er  these  palms  are  hovr'ing, 

In  night  wind  wild. 

Ye  holy  angels,  still  their  rocking. 

He  sleeps,  he  sleeps  my  child. 

He  sleeps  my  child. 

Ye  high  palms  of  Bethlehem  in  wild  winds  dashing. 

Why  are  ye,  tell  me,  so  rudely  clashing ! 

O  rock  thee  quiet.  Silent,  bending  thee  light  and  mild. 

Still,  still  your  rocking,  still,  still  your  rocking ! 

He  sleeps,  He  sleeps  my  child.  He  sleeps  my  child. 

This  heav'nly  boy  hath  borne  pain  and  anguish; 
Ah  so  aweary  in  earth's  toil  to  languish, 
Ah,  so  aweary,  aweary  in  earth's  toil. 
Earth's  toil  to  languish. 

O  give  him  sleep  all  gentle  and  soothing 

His  grief  is  run. 

Still,  still  their  rocking,  still  their  rocking 

15 


He  sleeps,  He  sleeps,  my  son; 
He  sleeps  my  son. 

Bitterest  winds  here,  Round  us  are  hovr'ing, 

With  much  I  deck  him.  His  only  covr'ing! 

O  all,  ye  angels,  all  ye  abroad  in  night  wind  so  wild. 

Still,  still  their  rocking,  still,  still  their  rocking, 

He  sleeps.  He  sleeps  my  child, 

He  sleeps  my  child. 

(MRS.  J.  P.  M.) 

(d)     Von  ewigcr  Liche. 

{Love  Eternal) 

Darkness  is  falling  on  woodland  and  hill, 
Night  comes,  and  silence,  all   nature  is  still. 
Not  e'en  a  light  nor  hearth  fire  aglow, 
Hush'd  is  the  lark  in  his  nest  down  below. 

Forth  from  the  village  come  lover  and  lass. 
Side  by  side  homeward  together  they  pass. 
On  thro'  the  meadow  where  willow  trees  grow, 
While  bitter  words  from  his  heart  o'erflow; 

"Bearest  thou  shame,  falleth  sorrow  on  thee, 
Bearest  thou  shame  and  the  world's  scorn  for  me? 
Quick  let  the  bond  of  our  love  be  undone. 
Quick  as  our  plighted  troth  joined  us  in  one. 

Part  now  the  tempest  and  rain  have  begun. 
Quick  as  our  plighted  troth  joined  us  in  one." 

Then  the  maiden  speaks,  then  says  the  maid; 
"Vows  we  have  spoken  can  ne'er  be  unsaid ! 
Trusty  is  steel  and  iron  stands  fast; 
Love  such  as  ours  is  their  strength  will  outlast. 

Iron  and  steel  may  be  fashioned  anew, 
Love  such  as  ours  is  more  constant  and  true. 
Iron  and  steel  may  rust  and  decay. 
Our  love  once  plighted,  our  love  once  plighted 
lasts  ever,  ever  and  ave." 

(E.  M.  L.) 


r6 


(3)   Concerto   in   B  flat  Major  (No.  2).      For  Pianoforte  and 
Orchestra.      Opus  83  (Composed  1882) 

1 .  Allegro  tion  troppo 

2.  Allegro  appassiotiata 

3 .  Andante 

4.  Allegretto  grazioso 

MR.   WILHELM   BACHAUS 
anJ)  tbe  ©rcbestra  of  tbe  Sgnipbons  Society  of  TRcw  fork 

WALTER  DAMROSCH,   Conductor 


Concerto  for  Pianoforte  and  Orchestra  in  B-flat,  No,  2,  opus  83, 
Allegro  noti  troppo  —  Allegro  appassionata  —  Andante  —  Allegretto 
grazioso. 

Following  the  "Academic"  and  the  "Tragic"  overtures,  this  second 
concerto  for  pianoforte  and  orchestra  was  written  by  Brahms  at  the  time 
he  was  most  closely  in  touch  with  the  court  of  Saxe-Meiningen,  and 
with  the  celebrated  orchestra  maintained  by  the  Duke,  of  which  Hans 
von  Biilow  was  conductor.  It  was  in  1882  that  Brahms  brought  out 
this  concerto,  with  the  Meiningeu  orchestra,  playing  the  solo  part  him- 
self, and  not  long  afterward,  when  the  Duke  sent  the  orchestra  to  Leipsic, 
to  show  how  the  music  of  Brahms  should  be  played,  the  concerto  was 
on  the  program,  von  Biilow  being  at  the  pianoforte  and  the  orchestra 
accompanying  without  a  conductor.  The  enthusiasm  of  von  Biilow  for 
the  concerto  was  contagious,  and  it  speedily  gained  a  series  of  hearings 
in  Germany  and  England.  In  America,  it  has  figured  less  often  than 
might  have  been  expected,  on  public  programmes,  partly,  perhaps,  because 
of  its  combination  of  large  technical  demands  and  a  certain  inaccess- 
ibility of  spirit,  except  to  those  panists  who  can  also  think  and  feel. 
To  such,  its  interpretation  has  ever  been  a  labor  of  love,  and  when  thus 
performed,  this  work  becomes  profoundly  eloquent. 

Brahms  is  said  to  have  designed  the  concerto  at  first  in  three  move- 
ments, and  to  have  added  afterward  the  Allegro  appassionata,  which 
now  constitutes  the  second  division.  The  most  striking  melodic  idea 
of  the  first  movement  is  proclaimed  by  a  horn,  and  answered  by  a  bril- 
liant passage  on  the  pianoforte.  The  succeeding  themes  are  developed 
in  the  usual  way,  but  this  phrase  remains  the  dominating  one.  In  the 
second  movement,   in   D  minor,  there   has  been   found  by  some  com- 

17 


mentators  a  suggestion  of  a  similarity  of  contour  between  its  principal 
theme  and  one  of  those  in  the  early  "Serenade,"  also  set  for  performance 
at  this  Festival.  The  hearer  will  also  note  a  passage  of  octaves  in  both 
hands,  for  the  solo  instrument,  and  a  martial  measure  that  sweeps  all 
before  it.  A  single  violoncello  sounds  the  melodic  idea  governing  the 
Andante  in  B-flat.  The  last  movement  is  rich  in  its  suggestion  of  the 
dance  rhythms  that  always  appealed  so  deeply  to  Brahms. 

(Samuel   Swift.) 


i8 


^bivb   Concert 


Friday  Afternoon,   March   29,   1912 

part  11 

(i)   Serenade  (D  major).      Opus  11  (Composed   i860) 

(a)  Allegro   Molto 

\b)  Mefiuetto   I  and  II 

(r)  Scherzo 

[d^  Rondo 

©rcbcstra  of  tbe  S^mpbon^  Society  ot  IRcw  l^orh 

WALTER  DAMROSCH,   Conductor 

(2)   Concerto  for  Violin  and  Orchestra  in  D  major.    Opus  77, 
(Composed  1879) 

1 .  Allegro  ma  non  troppo 

2.  Adagio 

3.  Allegro  giocoso,   ma  non  troppo  vivace 

MR.   EFREM  ZIMBALIST 
2ln5  tbe  ©rcbestra  of  tbe  S^mpbong  Society  of  IRew  l^orft 

WALTER  DAMROSCH,   Conductor 


CONCERTO   FOR  VIOLIN  AND  ORCHESTRA 
D  major,  op.  yy. 

I,  Allegro  ma  non  troppo,  D  major,  3-4  time;  II,  Adagio,  F  major, 
2-4;  III,  Allegro  giocoso,  ma  non  troppo  vivace,  D  major,  2-4. 

The  orchestral  introduction  to  the  first  movement  is  long  and  impor- 
tant, in  that  it  introduces  all  the  essential  thoughts,  which  are  developed 
in  the  course  of  the  movement.  Bassoons,  violas  and  violoncello — all 
instruments  of  sombre  tone-color — intone  the  principal  subject  at  the 
outset,  without  a  note  of  exordium.  It  has  a  heroic  and  puissant  cast, 
somewhat  like  that  of  the  same  composer's  third  symphony,  but  is  not 
proclaimed  with  such  brilliancy  and  self-assertion.  That  spirit  does  not 
enter  until  after  a  gentle  continuation  of  the  subject  by  the  strings  and 
oboes,  the  strings  and  wood  wind  instruments  introduce  an  aspiring 
passage   with   octavo   leaps   downwards   which   is    also   destined   for   a 

19 


significant  role  in  the  development  of  the  movement.  In  this  and  the 
third  theme,  a  phrase  of  march  character  in  A  minor,  the  germ  for  all 
that  is  proud  and  militant  in  the  movement  is  found.  The  solo  instru- 
ment takes  up  its  share  in  the  work  with  a  dash  in  the  style  of  bravura 
improvisation  which  ends  in  a  transfigured  proclamation  of  the  principal 
subject  in  the  highest  regions  of  tone.  The  serenity  thus  brought  into 
the  music  is  continued  in  the  song  of  the  orchestra  embellished  by  the 
solo  voice.  The  minor  theme  is  given  out  sharply  by  the  solo  violin.  In 
the  working  out  of  the  material,  both  in  solo  and  orchestra,  there  is 
learned  and  ingenious  play  with  motive  drawn  from  all  the  themes.  The 
serene  canticle  of  the  slow  movement  is  first  sung  by  the  oboe  with 
supporting  harmonies  from  the  wind  choir,  and  then  embellished  by  the 
solo  violin.  The  third  movement  is  a  bright  and  joyous  rondo  which 
has  a  scintillant  explosion  ni  the  Coda  (Poco  pin  presto),  in  which  the 
2-4  of  the  principal  subject  is  changed  in  effect  into  a  6-8  rhythm. 

(H.  E.  K.) 

part  1I1I 

(3)   Symphony  No.  4  (E  minor).    (Opus  98,  Composed  1886) 

1 .  Allegro  non  troppo 

2.  A?idante  moderato 

3.  Allegro  giocoso 

4.  Allegro  energico  e  passio?iato 

©rcbcstra  of  tbc  Ssnipbons  Society  of  IRew  IJork 

WALTER  DAMROSCH,   Conductor 


SYMPHONY,  No.  ]+,  E  minor,  Op.  98. 

I,  Allegro  non  troppo,  E  minor,  2-2  time;  II,  Andante  moderato,  E 
major,  6-8;  III,  Allegro  giocoso,  C  major,  2-4;  IV,  Allegro  energico  e 
passionato,  E  minor,  3-4. 

According  to  a  record  in  Dr.  Hanslick's  "Aus  dem  Tagebuch  eines 
Musikers,"  this  symphony  had  its  first  performance  at  Meiningen  on 
October  25,  1885.  Its  first  production  at  Vienna  was  January  17,  1886, 
when  the  work  was  still  in  manuscript.  Simrock  brought  out  the  score 
and  parts,  and  on  December  11,  1886,  it  was  played  by  the  Symphony 
Society  of  New  York,  under  the  direction  of  Mr.  Walter  Damrosch. 
New  symphonies  by  Bruckner  and  Tschaikowsky  having  been  undertaken 
by  the  Philharmonic  Society,  it  could  not  find  a  place  in  the  lists  of  its 
concerts  until  January  15,  1887  —  just  a  year  after  the  production  in 
Vienna.  An  original  feature  of  the  work  is  the  use  of  the  passacaglia 
form  for  the  finale.  The  movement  is  a  series  of  variations  on  a  theme 
which  in  itself  is  little  else  than  the  ascending  scale  of  E  minor. 

(H.  E.  K.) 
20 


J^ouvtb   Concert 


Saturday  Evening,   March  30,   191 2 

part  H 

(i)   Symphony  No.  2  (D  major).    Opus  73  (Composed  1878) 

1 .  Allegro  ma  non  troppo 

2.  Adagio  ma  ?ion  troppo 

3.  Allegretto  grazioso — quasi  andantino 

4.  Allegro  con  spirito 

©rcbestra  ot  tbc  SgmpbonB  Society  of  "Mew  HJork 
WALTER  DAMROSCH,   Conductor 


SYMPHONY,  No.  2,  D  major,  Op.  IS. 

I,  Allegro  non  troppo,  D  major,  3-4  time;  II,  Adagio  non  troppo,  B 
major,  4-4;  III,  Allegretto  grazioso,  quasi  Andantino,  G  major,  3-4; 
Finale:  Allegro  con  spirito,  D  major,  2-2, 

The  first  movement  of  the  symphony  in  D  has  a  pastoral  tinge,  which 
is  due  partly  to  the  character  of  the  principal  melody,  partly  to  the 
manner  in  which  that  melody  is  harmonized.  The  horn  and  wood-wind 
instruments  first  announce  this  theme,  the  horn  giving  the  first  phrase 
over  a  pedal-point  on  A,  the  dominant  of  the  key,  the  wood-winds  the 
second  phrase  over  a  pedal-point  on  D,  the  tonic.  The  second  subject  is 
related  to  the  first  in  feeling,  and  has  a  Mendelssohnian  suavity.  The 
subsidiary  material  in  the  movement  is  peculiarly  rich,  interesting  and 
varied.  The  second  movement  is  marked  by  profound  thoughtfulness  in 
idea  as  well  as  expression.  This  is  impressed  upon  the  listener  at  the  out- 
set by  the  principal  melody,  sung  at  first  by  the  violoncellos,  but  relief 
comes  a  little  later  from  the  fanciful  second  theme,  which  will  easily  be 
recognized  by  its  minor  mood  and  its  persistent  syncopations.  The 
third  movement  is  the  most  unqualifiedly  pleasing  of  the  four  parts  of 
the  symphony,  and  had  to  be  repeated  when  it  was  first  performed  by  the 
Philharmonic   Society  of  Vienna.     It  has  an  extremely  graceful   and 

21 


ingratiating  theme,  which,  in  simple  harmony,  is  sung  by  the  wood-winds 
over  a  pizzicato  accompaniment  from  the  strings.  Its  second  theme  is  a 
Presto,  which  is  merely  the  first  theme  in  a  new  rhythmical  dress,  the 
triple  time  having  been  changed  to  double,  the  Allegretto  grazioso  to 
Presto.  Later  there  is  still  another  rhythmical  variation  of  the  theme, 
in  which  the  three-quarter  notes  become  three-eights.  The  last  move- 
ment begins  most  effectively  with  the  melody  unisono  and  pianissimo,  and 
is  a  rondo,  with  four  themes,  in  one  of  which  there  is  a  strong 
admixture  of  the  Magyar  spirit. 

(H.  E.  K.) 


part  n 

(2)  A  German  Requiem.     (Opus  45,  Composed  i  867-1 868) 

The  Words  selected  from  the  Holy  Scriptures 
For  Soprano  and  Baritone  Soli,  Chorus  and  Orchestra 

MISS  FLORENCE  HINKLE,   Soprano 
MR.   HAMILTON  EARLE,   Baritone 

©ratorlo  Society  of  IRew  lorft 

auD  tbe 

©rcbestra  ot  tbe  Sgnipbons  Society  of  mew  lork 

FRANK  DAMROSCH,   Conductor 


Brabm5*6  "(Bcrmau  IRcquicm." 

New  Vork  has  not  done  its  duty  by  this  composition,  which  must  be 
placed  beside  Schumann's  setting  of  the  third  part  of  Goethe's  "Faust" 
as  the  finest  choral  composition  since  Mendelssohn's  oratorios  at  least. 
True  the  Metropolis  has  heard  more  performances  of  it  than  any  other 
city  in  the  United  States,  and  than  any  in  Germany,  except  the  great 
musical  centres.  The  first  American  performance  was  given  by  the 
Oratorio  Society,  under  the  direction  of  Dr.  Leopold  Damrosch,  as  long 
ago  as  March  15,  1877.  This  was  ten  years  after  the  first  three  move- 
ments had  received  their  first  performance  in  Vienna  and  nine  years 
after  the  first  complete  performance  (barring  the  soprano  solo  and 
chorus  composd  later)  in  Bremen.  This  does  not  look  flattering  to 
New  York,  but  it  must  be  remembered  that  choral  culture  had  been  in 
rather  a  parlous  state  for  some  time  before  the  advent  of  Dr.  Damrosch 
and  the  Oratorio  Society.  It  speaks  well  for  the  new  spirit  that  came 
in  with  the  new  society  that  it  was  both  brave  and  strong  enough  to 


take  up  the  difficult  work  already  in  its  fourth  season.  The  first  New 
York  performance  was  in  English.  Subsequently  the  German  Lieder- 
kranz  performed  it  in  German.  Mr.  Theodore  Thomas  then  produced 
the  work  in  English  with  the  New  York  Chorus  Society  in  February, 
1884,  and  the  Oratorio  Society  repeated  it  under  Mr.  Walter  Damrosch 
on  November  28,  1891,  and  again  under  Mr.  Frank  Damrosch  on  Decem- 
ber I,  1904.  This  does  not  look  like  a  very  bad  record,  inasmuch  as  when 
I  undertook  the  task  in  1900  I  could  not  count  up  more  than  four  per- 
formances in  Hamburg,  the  birthplace  of  the  composer. 

The  first  three  numbers  of  the  work  were  composed  in  1867,  and 
brought  out  by  Director  Herbeck  on  December  ist  of  that  year.  The 
score  was  still  in  manuscript  at  the  time.  Three  more  numbers  were 
added  in  the  next  spring,  and  on  Good  Friday,  1868,  the  work  (which 
does  not  seem  to  have  been  considered  complete,  inasmuch  as  Mme. 
Joachim  interpolated  'T  know  that  my  Redeemer  liveth,"  from  Handel's 
"Messiah")  was  performed  with  unusual  musical  pomp  and  circum- 
stance in  the  principal  church,  formerly  the  Roman  Catholic  Cathedral, 
and  still  called  the  Dom,  at  Bremen.  In  the  audience,  which  numbered 
2,000  persons,  were  representative  musicians  from  nearly  all  the  coun- 
tries of  Europe,  and  the  work  aroused  stupendous  enthusiasm. 

"A  German  Requiem"  has  nothing  of  the  liturgical  character  about 
it  suggested  by  its  title.  It  has  no  relation  whatever  with  the  Mass  for 
the  Dead.  If  it  must  be  associated  with  any  other  work  in  music  it 
might  be  with  the  "Ode  of  Mourning,"  which  Bach  composed  for  the 
memorial  celebration  for  the  wife  of  Friederich  August,  Elector  of 
Saxony  and  King  of  Poland,  and  the  anthem  which  Handel  wrote  on  the 
death  of  Queen  Caroline.  "A  German  Requiem"  is  an  epical  oratorio, 
which  was  composed  as  a  tribute  to  the  memory  of  a  mother  whom  he 
loved  devotedly,  and  who  had  died  two  years  before.  If  one  desires  to 
have  a  beautiful  testimony  to  the  spirit  in  which  it  was  to  Brahms,  a 
personal  function,  he  need  only  listen  to  the  words  and  music  of  the  fifth 
number  with  its  reference  to  a  mother's  comforting  influence  and  the 
peace  and  joy  which  come  with  death.  Brahms  was  a  sturdy  Protestant 
and  could  not  go  to  the  Roman  ritual  either  for  the  words  or  the  moods 
of  his  memorial  service.  There  is  a  burden  of  sorrow  resting  upon  the 
music  which  does  not  find  relief  in  the  dramatic  picturesqueness  with 
which  the  Mass  for  the  Dead  has  been  filled  since  the  modern  spirit, 
and  which  has  again  fallen  under  the  condemnation  of  the  head  of  the 
Roman  church.  In  its  place,  however,  there  is  something  better.  Com- 
fort, resignation,  hope,  come  like  a  benediction  with  each  promise  of 
a  surcease  of  sorrow,  and  when  the  climax  is  reached  in  the  closing 
proclamation,  the  voice  of  the  truly  great  master  is  "as  the  voice  of  a 
great  multitude,  and  as  the  voice  of  many  waters,  and  as  the  voice  of 
many  thunderings ;  saying:  Alleluia!  for  the  Lord  God  Omnipotent 
reigneth !" 

H.  E.  KREHBIEL. 

23 


^eit  of  TReciuiem 

Adapted  from  the  German  by  E.  M.  Traquair.  Revised  by  R.  H.  Benson  * 

No.   I.— CHORUS. 

Blessed  are  they  that  mourn,  for  they  shall  have  comfort. 

They  that  sow  in  tears  shall  reap  in  joy. 

Who  goetii  forth  and  weepeth  and  beareth  precious  seed,  shall  doubt- 
less return  with  rejoicing  and  bring  his  sheaves  with  him. 

No.  2.— CHORUS. 

Behold  all  flesh  is  as  the  grass  and  all  the  goodliness  of  man  is  as 
the  flower  of  grass. 

For  lo,  the  grass  with'reth  and  the  flower  thereof  decayeth. 

Now  therefore  be  patient,  O  my  brethren,  unto  the  coming  of  Christ, 

See  how  the  husbandman  waiteth  for  the  precious  fruit  of  the  earth 
and  hath  long  patience  till  he  receiveth  the  early  rain  and  the  latter  rain. 

So  be  ye  patient. 

Behold  all  flesh  is  as  the  grass  and  all  the  goodliness  of  man  is  as  the 
flower  of  grass. 

For  lo,  the  grass  with'reth  and  the  flower  thereof  decayeth. 

Albeit  the  Lord's  word  endureth  for  evermore. 

The  redeemed  of  the  Lord  shall  return  again,  and  come  rejoicing 
unto  Zion; — Gladness,  joy  everlasting  upon  their  heads  shall  be;  Joy 
and  gladness  these  shall  be  their  portion,  and  tears  and  sighing  shall  flee 
from  them;  Joy  everlasting  upon  their  heads  shall  be. 

No.  3.— BARITONE  and  CHORUS. 

Lord,  make  me  to  know  the  measure  of  my  days  on  earth,  to  consider 
my  frailty,  that  I  must  perish. 

Surely  all  my  days  here  are  as  an  handbreadth  to  Thee,  and  my  life 
time  is  as  naught  to  Thee — 

Verily  mankind  walketh  in  a  vain  show  and  his  best  state  is  vanity. 

He  passeth  away  like  a  shadow,  he  is  disquieted  in  vain,  he  heapeth 
up  riches  and  cannot  tell  who  shall  gather  them. 

Now,  Lord,  O  what  do  I  wait  for?    My  hope  is  in  Thee, 

But  the  righteous  souls  are  in  the  hands  of  God,  nor  pain  nor  grief 
shall  nigh  them  come. 

No.  4.— CHORUS. 

How  lovely  is  Thy  dwelling  place,  O  Lord  of  Hosts ! 

For  my  soul  it  longeth,  yea  fainteth  for  the  courts  of  the  Lord;  my 
Soul  and  body  crieth  out,  yea  for  the  living  God. 

O  blest  are  they  that  dwell  within  Thy  house,  they  praise  Thy  name 
evermore. 

*By   Permission    of    G.    Schirmer.      Copyright,    G.    Schirmer,    1877. 

24 


No.  5.— SOPRANO  AND  CHORUS. 

Soprano. 
Ye  now  are  sorrowful,  howbeit  ye  shall  again  behold  me,  and  your 
hearts  shall  be  joyful  and  your  joy  no  man  taketh  from  you. 

Chorus. 
Yea,  I  will  comfort  you,  as  one  whom  his  own  mother  comforteth. 

Soprano. 
Look  upon  me,  ye  know  that  for  a  little  time  labour  and  sorrow  were 
mine,  but  at  the  last  I  have  found  comfort. 

Chorus. 
Yea,  I  will  comfort  you. 

No.  6.— BARITONE  and  CHORUS. 

Chorus. 
Here  on  earth  have  we  no  continuing  place,  howbeit  we  seek  one  to 
come: 

Baritone. 
Lo,  I  unfold  unto  you  a  mystery. 

Baritone  and  Chorus. 
We  shall  not  all  sleep  when  he  cometh,  but  we  shall  all  be  changed; 
in  a  moment,  in  the  twinkling  of  an  eye  at  the  sound  of  the  trumpet. 

Chorus. 
For  the  trumpet  shall  sound  and  the  dead  shall  be  raised  incorruptible 
and  all  we  shall  be  changed. 

Baritone. 
Then  what  of  old  was  written,  the  same  shall  be  brought  to  pass. 

Chorus. 

For  death  shall  be  swallowed  in  victory. 

Grave,  where  is  thy  triumph !     Death,  O  where  is  thy  sting ! 

Worthy  art  Thou  to  be  praised.  Lord  of  honour  and  might,  for  Thou 
has  earth  and  heaven  created ;  and  for  Thy  good  pleasure  all  things  have 
their  being  and  were  created. 

No.  7.— CHORUS. 

Blessed  are  the  dead  which  die  in  the  Lord,  from  henceforth,  Saith 
the  Spirit,  that  they  rest  from  their  labours  and  that  their  works  follow 
after  them. 

25 


^be  S^mpbon^  Society  of  H^ew  IPork 


President 

Mr.   Harry   Harkness    Flagler 

Vice-Presidents 

Mr.  Paul  D.  Cravath         Mr.  Isaac  N.  Seligman         Mr.  Amos  R.  E.  Pinchot 

Corresponding  Secretary 

Miss   Laura   J.    Post 

Recording  Secretary 

Mr.   Richard  Welling 
t 

Treastirer 

Mr.   Rudolph   E.   Schirmer 

Musical  Director  and  Conductor 

Mr.    Walter   Damrosch 

DIRECTORS 

Mrs.    Charles   B.   Alexander  Mrs.    Daniel    S.    Lament 

Miss  Mary   R.    Callender  Mrs.    George   Landers 

Mrs.    F.    B.    Candler  Mrs.    Morris   Loeb 

Mrs.    Harris   Robbins   Childs  Mr.   George  Elder  Marcus 

Mr.    Robert    J.    Collier  Mr.   Frank  A.    Munsey 

Mr.    Frederick   H.    Comstock  Mme.    Nordica- Young 

Mrs.    Paul   D.    Cravath  Mr.    Norreys   Jephson  O'Conor 

Miss   Caroline  de  Forest  Mr.   George  W.   Perkins 

Mrs.    Charles    H.    Ditson  Mrs.    Von   Rottenberg  Phelps 

Mr.   Frank   Damrosch  Mrs.   Morton  F.   Plant 

Mrs.   Harry   Harkness   Flagler  Mr.    Charles    E.    Sampson 

Mr.  H.    C.    Frick  Mrs.    Henry   Sanford 

Mr.   Daniel  Guggenheim  Mr.    Jacob   H.    Schiff 

Mr.  William   S.   Hawk  Mr.    Henry  Seligman 

Mrs.   William   S.    Hawk  Mrs.    Leonard    B.    Schoenfeld 

Mrs.   Frances   Hellman  Mr.   William   B.   Tuthill 

Mr.    Stephen    Knevals  Mrs.   Frederick  T.  Van   Beuren 

Mr.  Alvin   W.   Krech  Mr.   G.   Creighton  Webb 

Mr.   Alexander    Lambert  Mrs.    A.   Murray   Young 


26 


©ratodo  Society  of  Bevv  l^orh 

FOUNDED   BY   DR.    LEOPOLD  DAMROSCH    1873 

^birtv>*'iuntb  Season 

1911*12 

:©oarD  of  directors 
anD  ©tSccrs  ot  tbe  Society 


iprcsiScnt 
Andrew  Carnegie 


l8t  1I>icc=prc9i^cnt 
Dr.  John  P.  Munn 


2u^  ^?lcc=pre6f^cnt 
Hart  WELL  A.  Wilkin  s 


•Crcasurcr 
Frederick  H.  Comstock 

Xibravian 
Burnet    Corwin    Tuthill 

Secretans 
William  Burnet  Tuthill 


Thomas  J.  Ambrose 
James    Bertram 
George  F.  Bingham 
Lee  M.  Bingham 
Frederick  G.  Bourne 
Laurin  Whiting  Burton 
James  G.  Cannon 
F.lias  N.    Caplan 
Mrs.   Andrew    Carnegie 
Herbert  H.  Claxton 
Frank  Damrosch 
Walter  Damrosch 
Richard  T.  Davies 
Harry  Harkness  Flagler 
R.  A.  Franks 
H.  Willard  Gray 
Frank  S.  Hastings 
Arthur  C.  James 
Richard  B.  Kelly 
Mrs.  John  S.  Kennedy 
Alexander  King 
Wm.    Elliott    Knox 


J.  Pierpont  Morgan 

Henry    Morgenthau 

George  Austin  Morrison,  Jr. 

Paul  C.  Noetzel 

Hon.  Alfred  R.  Page 

Rev.  Alfred  Duane  Pell 

William  H.  Porter 

H.  Wheelock  Pooler 

Miss  Laura  J.  Post 

Miss     Fifine    Pressler 

Rudolph  E.  Schirmer 

Frank  L.  Sealy 

Henry  Seligman 

Isaac  N.  Seligman 

Joseph  Shardlow 

Mrs.  Charles  Stewart  Smith 

Miss  Clara  B.  Spence 

William  L.  Swan 

William  Hall  Walker 

Henry  D.  Whitfield 

George  T.  Wilson 

Miss  Margaret  Barclay  Wilson 


27 


<lon^uctor 
Frank  Damrosch 

■fconorarig  Hssociate  Conductors 
Walter  Damrosch        Sir  Edward  Elgar        Horatio  \V.  Parker 


Mr.  George  F.  Bingham 


%itc  /iRcmbcrs 

Mrs.  Agr.es  King 


Mr.   Stephen  M.  Knevals 


/iBembers 

SOPRANOS 

Miss  M.  Ahrens 

Mrs. 

F. 

G.   Heberlein 

Miss   E. 

Rice 

Miss  0.  Alexander 

Miss 

M 

.    Hepburn 

Miss   E. 

Richards 

Miss  M.  Ambrose 

Mrs. 

P. 

M.   Hoenach 

Miss  A. 

Roth 

Miss  A.  Auffurth 

Mrs. 

E. 

M.  Hoover 

Miss  M 

H.  Salter 

Miss  L.  D.  Bacon 

Miss 

G. 

A.  Hoysradt 

Miss  A. 

Schall 

Miss  R.  Bacon 

Miss 

I. 

Hume 

Mrs.    E 

Schenck 

Mrs.  H.  Bahrs 

Miss 

A. 

M.  Jaques 

Miss   A. 

Schlott 

Miss  E.  H.  Baron 

Miss 

M 

Jester 

Miss  E. 

Schmitt 

Mrs.  E.  H.  Bartoo 

Miss 

F. 

Johnston 

Miss  A. 

Schneider 

Miss  G.  B.  Beach 

Mrs. 

M 

Kefer 

Miss  E. 

Scholermann 

Miss  M.  Becker 

Miss 

P. 

Lambert 

Mrs.   W 

.  H.  Seeback 

Miss   Bloomfield 

Mrs. 

R. 

J.   Lau 

Mrs.  E. 

L.  Selby 

Miss  A.  T.  Boylan 

Miss 

G. 

Lloyd 

Mrs.   H 

T.    Seymour 

Miss  M.  Bradin 

Mrs. 

M 

Loesch 

Miss   M 

Shapter 

Miss   L.   Buensod 

Mrs. 

E. 

E.   Lyman 

Miss  H 

E.   Smith 

Miss  A.   Calisher 

Miss 

C. 

McAllister 

Miss  B. 

Smith 

Mrs.   C.  G.  A.   Carlson 

Miss 

L. 

I.  McCormick 

Miss   A. 

Steffens 

Miss  F.   E.   Cederberg 

Miss 

A. 

McLean 

Miss  L. 

Stillman 

Miss  N.  F.  Cowles 

Mrs. 

L. 

McMahan 

Miss  I. 

Struckmann 

Miss  C.   Crenshaw 

Miss 

R. 

Martin 

Miss  F. 

Sugarman 

Miss  M.  Damm 

Mrs. 

W 

.    Meister 

Mrs.  C. 

E.  Taylor 

Miss  M.   E.   S.  Davidson 

Miss 

L. 

Michener 

Miss  G. 

I.   Toms 

Miss  I.  Diestel 

Miss 

E. 

H.   Miller 

Mrs.    F. 

H.    Tschudi 

Miss  J.   Eells 

Miss 

L. 

I.   Mockridge 

Miss  E. 

Vail 

Mrs.   C.   R.  Paris 

Miss 

H. 

Miihs 

Miss   N. 

B.    Valliant 

Mrs.   Fechheimer 

Miss 

E. 

Munsie 

Miss  L. 

Van  Der  Beck 

Miss  I.  Fisher 

Mrs. 

C. 

H.  Newman 

Miss  M. 

Van   Hoesen 

Mrs.    A.    Gad 

Miss 

K. 

Paulding 

Miss  L. 

J.  Wagner 

Miss    M.    Gardner 

Miss 

M. 

Perpente 

Miss  A. 

V.   Wahlberg 

Miss  A.    Garnett 

Miss 

E. 

Peterson 

Miss  E. 

Weber 

Mrs.  F.  W.  Geagen 

Mrs. 

H. 

M.   Porter 

Mrs.   R. 

A.   White 

Miss  A.    E.   GinnifiE 

Miss 

F. 

Pressler 

Miss  J. 

B.  Whitney 

Miss   S.    Greer 

Miss 

C. 

P.   Prime 

Mrs.   E. 

Wilkens 

Miss    C.    Gribbon 

Mrs. 

M. 

R.   Prina 

Miss   I. 

Williamson 

Miss    H.    Hallberg 

Mrs. 

S. 

A.    Raboch 

Miss  K. 

H.  Williamson 

Mrs.   S.   F.   Hallock 

Miss 

L. 

H.    Reese 

Miss  E. 

Wilson 

Miss  0.    B.  Hasaalum 

Miss 

Reusch 

28 


Mrs. 

B. 

K.  Arnold 

Miss 

E. 

Baron 

Miss 

S. 

E.   Beach 

Miss 

P. 

Benedict 

Miss 

I. 

Berger 

Mrs. 

E. 

M.    Bishop 

Miss 

E. 

B.    Bryan 

Miss 

M 

Bussing 

Miss 

E. 

Caughey 

Miss 

A. 

Daland 

Miss 

H. 

De  Puy 

Miss 

M. 

D.    Doscher 

Miss 

M 

Ehlers 

Miss 

L. 

Elwell 

Mrs. 

F. 

Ericson 

Miss 

L. 

M.  Fisher 

Miss 

W 

S.   Gibbs 

Mrs. 

W 

S.  Gordon 

Miss 

L. 

Haslett 

ALTOS 

Mrs. 

Heineman 

Miss 

H. 

Hendrickson 

Miss 

E. 

Holbert 

Mrs. 

E. 

A.    Horner 

Miss 

I. 

Rowland 

Mrs. 

C. 

B.   Jones 

Miss 

M. 

Kemble 

Mme 

H 

.   Kieff 

Miss 

M. 

Knox 

Miss 

C. 

Lange 

Mrs. 

J. 

B.   Levine 

Mrs. 

0. 

T.   Louis 

Miss 

L. 

Lutz 

Miss 

M 

F.   McLean 

Mrs. 

T. 

A.   Matthews 

Miss 

M 

J.   Mead 

Miss 

A. 

Murphy 

Miss 

E. 

G.   Neebe 

Mrs. 

C. 

H.   Nichols 

Miss  A. 
Miss  A. 
Mrs.  S. 
Miss  A. 
Miss  E. 
Miss  C. 
Mrs.  K. 
Mrs.  C. 
Miss  E. 
Miss  J. 
Miss  M. 
Miss  A. 
Miss  S. 
Mrs.  S. 
Miss  E. 
Mrs.  M, 
Miss  L. 
Miss  E. 
Miss  M. 


M.   Palni«r 
G.  Paradise 
Rallya 
Ray 

P.  Rice 
K.    Richardson 
J.    Roberts 
I.    Saslavsky 
Schmid 
Schmitt 
A.    Schmitt 
J.    Smith 
Stewart 
Tebbutt 
J.   Ware 
Weis 
Wheatcroft 
White 
Wood 


TENORS 


Mr. 

J.   Avery 

Mr. 

W.  Barnitt 

Mr. 

D.  Becker 

Mr. 

F.   L.   Berger 

Mr. 

T.  F.  Belts 

Mr. 

L.  W.   Burton 

Mr. 

F.   H.   Comstock 

Mr. 

F.   S.   Condit 

Mr. 

W.   G.   Crary 

Mr. 

W.  Crawford 

Mr. 

E.  Crown 

Mr. 

D.  Davis 

Mr. 

R.  W.  Drury 

Mr. 

0.  R.  Dudley 

Mr. 

H.  J.   Ehlenberg 

Mr. 

H.  E.  Engelbrecht 

Mr. 

A. 

C.  Ash 

Mr. 

T. 

J.  Ambrose 

Mr. 

J. 

W.   Barney 

Mr. 

L. 

M.   Bingham 

Mr. 

W 

A.  Burrows 

Mr. 

E. 

N.  Caplan 

Mr. 

H. 

H.    Claxton 

Mr. 

S. 

Cohen 

Dr. 

H. 

P.   Cole 

Mr. 

W 

.   S.   B.    Dana 

Mr. 

A. 

J.    Dunlop 

Mr. 

L. 

Fairlamb 

Mr. 

G. 

P.    Fall 

Mr. 

A. 

Faunce 

Mr. 

E. 

E.  Handel 

Mr. 

W. 

G.  Harper 

Mr. 

J. 

P.    Harsha 

Mr. 

H. 

Hersch 

Mr. 

C. 

T.   Hesser 

Mr. 

D. 

S.   Hillyer 

Mr. 

V. 

Hughes 

Mr. 

O. 

W.  Jackson 

Mr. 

C. 

H.  Keep 

Mr. 

A. 

G.  Kraher 

Mr. 

H 

B.    Livingston 

Mr. 

S. 

M.  Meding 

Mr. 

B. 

Milvary 

BASSES 

Mr. 

F. 

Epstein 

Mr. 

I. 

Friend 

Mr. 

G. 

Furzer 

Mr. 

E. 

D.   Giustiniani 

Mr. 

J. 

E.    Good 

Mr. 

E 

P.    Haase 

Mr. 

L. 

Hetzel 

Mr 

0 

W.    Hill 

Mr 

G 

Holm 

Mr 

R 

N.   Jolliffe 

Mr 

J. 

F.   Kennell 

Mr.  H. 

Mr.  H. 

Mr.  G. 

Mr.  E. 

Mr.  U. 

Mr.  N. 

Mr.  F. 

Mr.  H. 

Mr.  H. 

Mr.  B. 

Mr.  J. 

Mr.  W 

Mr.  S. 

Mr.  H. 

Mr.  H. 


W.  Pooler 

E.   Pratt 
S.  Prentice 

Rhodes 

C.  Ryerson 

Sebastian 

Sharpe 
.   A.   Slakin 

^^'.   Thomas 

C.  Tuthill 
Walsh 

L.  Watson 

Wilcox 

A.   Wilkins 

G.   Wurthmann 


Mr.   W.    E.    Knox 
Dr.  A.    F.   Lesler 
Mr.   E.   E.  Lyman 
Mr.  A.  McLean 
Mr.  W.    H.   Madden 
Mr.  E.  G.  Marquard 
Mr.   N.  Meltzhoff 
Mr.   C.   H.  Newman 
Mr.  P.   C.    Noetzel 
Mr.   C.  J.  Oliphant 


29 


Mr.   W.    Parkhurst 
Mr.  L.  F.  Pease 
Mr.    E.   A.    Pett 
Mr.   S  .W.   Phraner 
Mr.  G.  L.  Flatzer 
Mr.  L.  A.  de  Posch 
Mr.    \V.   O.   Pratt 
Mr.   C.   Reyman 
Mr.   H.    \V.    Robinson 


BASSES 

Mr.   J.    Rosenthal 
Mr.   S.    Ruhland 
Mr.   T.   Schorske 
Mr.  J.    D.   Shaw 
Mr.    L.    Skidmore 
Mr.    J.    Stirling 
Mr.    R.    \V.   Tebbs 
Mr.    F.    A.    Thomas 


Mr.   H.   L.   Thompson 
Mr.  S.  \'ickess 
Mr.    O.   Wagenseil 
Mr.   R.   C.  Waket^eld 
Mr.  A.  G.  Wand 
Mr.   \V.   Weeber 
Mr.    F.    Weitenkampf 
Mr.  J.  K.  Wright 


IDonorars  /Hbembers— 19U 

Members  who  have  served  more  than  ten  years  before  resignation. 


Mrs.   J.   Asch,   1873 
Mrs.   B.   D.   McKee,    1882 
Mr.  W.   H.   Terhune,   1883 
Miss  H.  H.  Ilsley,  1884 


Mr.    F.    B.    Ilsley,    1884 
Mr.   H.   R.  McKenzie,    1884 
Mrs.   H.   F.   Ahrens,   1885 
Miss  A.   Lathers,  1890 


Miss  H.    Gerken,    1892 

Mr.  D.  A.  Slattery,  Jr.,    1892 

Mr.  W.  M.  Morgan,  1896 


30 


ucs: 


■BOIPV  Cf""  ITV 


AA    000  903  266    5 


